Réponse par Richard Vallance Janke à la recherche très récente sur la tablette AN PY 55 = AN 724, menée par Tina et Enriqueta Martinotti, dont leur étude : Tina MARTINOTTI, Enriqueta MARTINOTTI. Poétique Mycénienne dans la Tablette PY 724 An ( PY 55) de Pylos, classfiée comme " liste de rameurs ". Épigraphie mycénienne: traduction de la tablette en linéaire b Py 55=An 724 de Pylos classifiée c.. 2015. <hal-01147208> HAL Id: hal-01147208 https://hal.archives-ouvertes.fr/hal-01147208 Submitted on 29 Apr 2015 Depuis Chadwick, la tablette en linéaire b, classifiée Py 55=An 724 a été interprétée à partir de la lecture des séries de signes ro-o-wa comme le nom du port de Pylos et e-re-ta comme « rameur/s » ; plusieurs auteurs pensent que ce texte est une liste de rameurs. Mais la présence de la série ki-ti-ta, interprétée d’abord comme « agriculteur », a produit des controverses : Que faisait le mot « agriculteur » dans une liste de rameurs ? Finalement ki-ti-ta a été interprétée, de manière un peu téméraire comme «unité fiscale»3. Cette dernière hypothèse imagine le cas de l’infortune des agriculteurs qui, ne pouvant payer leurs taxes foncières, s’engageaient dans la marine. Néanmoins, la tablette n’a aucune similitude avec une liste, elle présente des lignes complètes. Toutes ces approximations théoriques, en étant arbitraires, suggèrent une défaillance dans l’interprétation. Ainsi, cette tablette est l’objet de l’analyse que nous exposons ici, en prenant la méthode épigraphique des systèmes syllabaires dont un signe est homophonique, polysémique et logographique. La traduction, ici proposée, suit la méthodeinterprétative4 des phonèmes, et recherche l’énoncé produit pour l’homophonie. Notre analyse démontre que la tablette PY 55 ne traite pas d’une liste de rameurs, mais qu’il s’agit d’un admirable texte littéraire où le mythe, le culte et la tradition se trouvent étroitement liés aux données philologiques, archéologiques, iconographiques et géographiques. Cette tablette est une oeuvre littéraire mycénienne et une des premières chansons épiques ; un texte narratif qui renvoie aux rituels et offrandes dans la grotte dite aujourd’hui « Grotte de Nestor », ainsi que le sacrifice du taureau « auprès de la mer salée », tel que nous l’a transmis la tradition homérique. On verra que ce texte décrit l’épique d’une figure héroïque divine ; les exploits d’un dieu qui étaient dignes de mémoire pour les pyliens. Ce texte décrit un héros divin mythique, guérisseur, guerrier, fécondant, en étroit rapport avec la déesse Terre, et représentant, à ses yeux, l’idéal de la valeur et des vertus bienfaisantes... à laquelle ma réponse à mon compte sur academia.edu, ici : Bonjour, Tina ! Je tiens à vous répondre cette fois de la manière la plus respectueuse, vu que je viens de lire très attentivement deux de vos articles. J’en lirai les autres dès que j’aurai le temps libre de les assimiler avec le plus grand soin. Je dois vous avouer franchement que je suis très impressioné de votre recherche concernant le déchiffrement du syllabaire Linéaire B. Mais en dépit de mon admiration considérable de vos efforts énergiques à cet égard, je suis toujours constraint de garder plusieurs réservations relatives à votre hypothèse essentielle, là où il s’agit de la nature polysémiotique des syllabogrammes et des mots mycéniens, surtout à la lumière du syllabaire Linéaire C du dialecte arcado-chyprien, qui n’obéit en aucune manière à votre hypothèse essentiel, ce qui me rend plutôt soupçonneux, voire méfiant de quelques-unes des conclusions auxquelles vous souscrivez. De l’autre part, je suis ravi que mes propres hypothèses vous incitent finalement à promulguer les votres, car il est carrément évident que le monde international de la recherche historique et diachronique des syllabaires ne tire pas avantage de votre perspicacité pénétrante depuis je ne sais combien d’années. Néanmoins, il est vraiment à regretter que vous conduisez vos recherches, paraît-il, uniquement en français, étant donné que la plus grande proportion de loin des recherches dans tous les domaines scientifiques et techniques est menée, comme vous le savez très bien, uniquement en anglais. Cela signifie en un mot que la très grande majorité des rechercheurs en linguistique historique et diachonique sont par forfait dépourvus des implications à grande portée, à fort impact et certes à long terme de vos recherches si importantes. Et cela, presqu’inutile de dire, c’est vraiment grand dommage ! Et c’est dans cette optique que presque toute la communauté mondiale de la recherche en linguistique restera malheureusement dépourvue de l’impact considérable, voire, révolutionnaire, de vos recherches sur les syllabaires du monde antique. En plus de tout cela, il me reste à assumer la responsabilité de répondre nettement et de façon strictement logique à plusieurs de vos conclusions, non pas en français, mais en anglais, pour que les rechercheurs allophones en anglais puissent suivre la trame de notre discussion continue en ce qui regarde le déchiffrement des syllabaires Linéaire A et B, nonobstant le Linéaire C, dont je ferai au fur et à mesure plusieurs observations et commentaires d’extrême importance et pertinence à ce même égard. Reste à constater qu’à partir d’aujourd’hui, je me sentirai obligé de discuter en anglais tout aspect des trois syllabaires dont il s’agit (les Linéaires A, B, et C) de telle sorte que nos collègues allophones puissent suivre et comprendre notre dialogue soutenu. Merci bien, ma collègue très estimée Richard Vallance Janke
Just uploaded to academia.edu – Annotated Translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships
Just uploaded to academia.edu - Annotated Translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships Just uploaded to academia.edu - Annotated Translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships into fluent twenty-first century English, with reference to the significant impact of Mycenaean Greek on its archaic Greek. This is followed by a “modern” poem, Ode to the Archangel Michael in Mycenaean Linear B, English & French. Click on this banner to download the translation: This is my revised translation of the Introduction to Book II of the Iliad and of lines 484 to 652 of The Catalogue of Ships, which replaces the former one which I had uploaded to academia.edu. The former translation, which was incomplete, omitting a continuum of lines appearing in the revised translation, has been deleted from academia.edu and from this blog. So if you wish to read my revised translation, you will need to download the one referred to in this post. Thank you Richard
Just added to my academia.edu page, Translation of the Introduction to Book II of the Iliad, and its Profound Implications in the Regressive-Progressive Reconstruction of Unattested, Derived (D) Mycenaean Greek Vocabulary and Grammar, here:
Just added to my academia.edu page, Translation of the Introduction to Book II of the Iliad, and its Profound Implications in the Regressive-Progressive Reconstruction of Unattested, Derived (D) Mycenaean Greek Vocabulary and Grammar, here: This is the first of a series of several papers I shall be publishing this year and next (2016) on my hypothesis underpinning the theoretical and proposed actual links between the archaic Greek of Book II of the Iliad by Homer, and in particular of the Catalogue of Ships (lines 459-815). These papers are of extreme significance to the methodology, process and procedure of regressive extrapolation of Mycenaean Greek vocabulary or grammatical constructs derived from the most archaic Greek in the Iliad, considered by many researchers to be an in)direct offshoot of Mycenaean Greek itself. Vocabulary or grammatical constructs thus derived are then progressively applied to reconstruct parallel elements missing from any attested Linear B sources regardless. I cannot stress too much the extreme significance of this particular line of research I am pursuing in the reconstruction of numerous elements (possibly even into the hundreds) of Mycenaean Greek derived from these sections alone of the Iliad. Richard
New article on academia.edu. My translation of Sappho’s Ode, “The Moon has set, and the Pleiades…” from Aeolic Greek to Mycenaean Linear B, Arcado-Cypriot Linear C, English and French
New article on academia.edu. My translation of Sappho’s Ode, “The Moon has set, and the Pleiades...” from Aeolic Greek to Mycenaean Linear B, Arcado-Cypriot Linear C, English and French, here: Click to OPEN This article with my translation of Sappho’s Ode, “The Moon has set, and the Pleiades...” into two archaic Greek dialects (Linear B & Linear C), as well as into English and French, is the first of its kind ever to appear on the Internet. It will eventually be followed by my translations of several other splendid lyrics by Sappho, as well as by serial installments of my translation of the entire Catalogue of Ships in Book II of the Iliad by Homer, and several haiku which I have already composed in parallel Mycenaean Linear B, English & French (I kid you not!) If you would like to keep up with my ongoing research on academia.edu, you should probably sign yourself up with them, and follow me. Additionally, you can follow anyone else you like, especially those researchers, scholars and authors who are of particular interest to you (not me). And of course, once you have signed up with academia.edu, which is free, you can upload your own research papers, documents, articles, book reviews etc. to your heart’s content. Oh and by the way, we have a surprise coming up for you all, a research paper by none other than my co-administrator, Rita Roberts of Crete. Richard
A Lovely Ode to the Archangel Michael in Mycenaean Linear B: Click to ENLARGE
A Lovely Ode to the Archangel Michael in Mycenaean Linear B: Click to ENLARGE NOTE that the English & French translations of my Ode to the Archangel Michael appear in the next post. Have you ever wondered what Mycenaean Linear B poetry would have sounded like? I know I have, many times over. I invite you to simply read aloud the Latinized version of the Ode in Mycenaean Linear B, even if you do not understand it. The point is to enjoy the music of the poetry, not to worry about your pronunciation or your accent. Nobody really knows how any ancient Greek dialect sounded anyway. Here a few hints on how to bring out the music in the Mycenaean Greek. 1. Whenever you see the ending, oyo (genitive singular), pronounce it like “oiyo”, but in a single breath. It will sing that way. 2. If you put a little stress on the second-last syllable (penultimate) of words such as “peDIra ”“euZOno” “doSOmo” & “paraDEso”, this will also assist the melody of the poem. 3. Be sure to pronounce all “u”s & “eu”s (euzono) as you would “u” in French, if you can. 4. The disposition of the phrase “para paradeso para meso” is very peculiar for Greek poetry... “meso ” should be on the same line as the previous words. But I did this deliberately, again for melodic reason. If you read this phrase like this, “PAra paraDEso PAra MEso”, it should sound very nice. 5. The word “mana” (“manna” in English) is obviously not Mycenaean, and not even Greek. It is Hebrew. But I could take liberties introducing this word into a Christian poem. So I did. 6. Recite “pamako atanatoyo” (medicine of the immortal...) like this “PAmako aTAnaTOyo”... So long as you are consistent and satisfied with how it sounds to you, that is all you need. Yes, and do read it aloud. Otherwise, you will not benefit from hearing the music and the harmony of the Mycenaean Greek, which is after all the earliest of the ancient East Greek dialects, the great-great-grandfather of dialects such as the Ionic & Attic. Besides, you can always allow yourself the pleasure of admiring the pretty Linear B script, however weird it may look to you at first. Just give it a chance. Being a poet of sorts myself, I decided to write this lyric ode, somewhat along the lines of Sappho (although I cannot even remotely claim a foothold on her astonishing lyrical powers!) It is by no means inconceivable that poetry may very well have been composed in the Mycenaean era, ca. 1450 – 1200 BCE. Simply because we do not have any evidence at all of such activity does not mean that the Minoan/Mycenaean scribes never wrote any poetry at all. The problem lies not with the non-survival of any Mycenaean poetry, but with the impossibility of conserving anything written on papyrus in a humid environment, such as that of Minoan Crete and of Mycenae. It is indeed fortunate, fortuitous and a great asset to us today that so many Egyptian papyri have been preserved intact since a distant period equal to that of the Mycenaean civilization at its apogee. Call it what you like, the extremely arid sand of Egypt was far far more favourable to the survival of ancient papyrus than the moist climate of Mycenaean Crete and the Mycenaean mainland. That is the real reason why we have no extant literature from their great civilization. But given the astonishing levels their civilization reached in so many areas, in art, architecture, fresco painting, the textile industry, crafts of all kinds, international commerce and even science, it strikes me as passingly strange that no literature of any kind survives, apart from the thousands of Linear B inventory, accounting and ritual tablets, which can hardly be called literature in any sense of the word. There are those who contend that in fact the Catalogue of Ships in Book II of the Iliad was derived from an earlier Mycenaean epic poem, no doubt in a much simpler and more earthy guise, stripped of much of the telling Homeric metaphorical language which is his hallmark even in the Catalogue of Ships. You can count me among these. For this reason, it strikes me as a distinct possibility that, if the Mycenaeans were able to tackle even a mini-epic poem, even if it were a much shorter, stripped down version of its descendant (if ever there was) of the Catalogue of Ships in the Iliad, they surely would have been up to the task of composing considerably shorter poems along the lines of this one you see posted here. Of course, they would never have written about angels and archangels. But that is beside the point. Simply by successfully composing this lyric poem, I believe I have demonstrated that such poetry was, at least conceivably, within the grasp of soi-disant Mycenaean bards. We shall never know, but it is well worth the speculation. A comment on the phrase epi pedira euzona. As a preposition, epi should take the dative. But here I have used the accusative plural. My reason is this: in archaic Greek, prepositions were less common than adverbs, and in many cases, what we would recognize as a preposition in classical, say, Attic Greek, could very well have been an adverb in Mycenaean Greek. This is how it should be read in this context... pedira euzona is thus to be seen as accusative of aspect or aspectual accusative, reading literally something like this: with his feet on them... I welcome comments on any aspect, as suggested above or otherwise, of my stab at composing a lyric poem in Mycenaean Linear B, Christian though it be. English and French versions to follow in the next post. Richard
Sublime Sappho. The moon has set & the Pleiades (in Aeolic Greek, Linear B, Linear C, English & French)
Sublime Sappho. The moon has set & the Pleiades (in Aeolic Greek, Linear B, Linear C, English & French): Click to ENLARGE This is the first of many exquisite poems by the sublime Sappho (ca. 630-570 BCE), who was considered by the ancient Greeks to be second only to Homer, as well as the greatest lyric poet of their age. Indeed, even today, a great many poets and poetry critics, including myself, consider her to hold this exalted station still. You will all see this for yourselves as I post one after another of her exalted lyrics. I have decided to go all the way, by presenting you each poem in the original Aeolic Greek, as well as in Mycenaean Linear B & Arcado-Cypriot Linear C, and even English and French! Throughout history, to this very day, no one has ever done this. I am the first. I am so in awe Sappho’s consummate skill and artistry that I will do anything to broadcast her name and her sublime poetry to the whole world. This particular poem is my absolute favourite. It flows so naturally in Aeolic Greek that it washes over me, emotionally and spiritually. Like Italian, Aeolic Greek is superbly suited for lyric poetry, as it has no aspirates. Aspiration can and sometimes does sound harsh in lyric poetry. Aeolic Greek is notable for its sublime melody. If you could only hear this stunning poem, even if you could not even read Aeolic Greek, the Harmony of the Spheres would fairly floor you. Sappho knew this perfectly well. Her lyrics were, of course, sung to the accompaniment of the lyre. I have never read any lyric poet in any language (English, French, Spanish, Italian, German or Russian) who has ever been able to rival her consummate artistry. I adore her. Click to ENLARGE her portrait. A few linguistic notes: Being an East Greek dialect, Aeolic Greek is related to both the Mycenaean & Arcado-Cypriot dialects. There are many striking similarities and some notable differences in these three dialects. Mycenaean Greek in Linear B: Mycenaean Greek has no L series of syllabograms. The R series must be substituted, hence “serana” for Aeolic “selanna”. Since Linear B is an open syllabary, in which all syllabograms must end with a vowel, it is impossible to spell any word with two consecutive consonants, hence the last syllable of “serana” has only 1 N. For the same reason, final consonants, which are normative in almost all ancient Greek dialects, must be omitted in Mycenaean Greek. Hence, we have “me” for “men”. It is difficult to express the plural in Mycenaean Greek. However, there are precedents. The plural of “apore” (amphora) is “aporewe”. This allows us to write the Pleiades as “Periadewe”. Arcado-Cypriot Linear C: Similar bizarre (parallel) spelling conventions plague Arcado-Cypriot Linear C . Unlike Linear B, which has a dental D series of syllabograms, Linear C lacks it, and must substitute the dental T series. On the other hand, Linear C has both an L and an R series, and so both liquids can be accounted for. Since documents in alphabetic Arcado-Cypriot must express the final consonant, in line with almost all other ancient Greek dialects, Linear C has no choice but to resort to the opposite strategy from Mycenaean Linear B for the orthography of the ultimate, when it is meant to express the dative singular, the nominative plural and for all other Greek words ending with a consonant. The consonant must be expressed in Linear C, since it is always written in the alphabet. This is absolutely de rigueur, since many documents are simultaneously composed in Linear C and in the alphabet. In order to achieve this, Linear C has no choice but to use syllabograms, which still end in a vowel. It neatly skirts this annoying problem by expressing the ultimate consonant, following it with a filler vowel. A weird solution, but it works. If it works, it works. No hay problema nada. Hence, we have “mene” for “men”, which is the opposite of “me” for “men” in Linear C. Likewise, the plural is always clearly expressed, as in “peleitese”, where Linear C must also insert a final filler vowel, in most cases SE (to express the consonantal plural in sigma), as well as NE for all nouns ending in the consonant N. Such nouns are extremely common in ancient Greek dialects. Notice also the “te” in “peleitese”, since Linear C has no D series of syllabograms. On the other hand, both Mycenaean Linear B & Arcado-Cypriot have no G series of syllabograms. Mycenaean Linear B must substitute either the K or the Q series. Arcado-Cypriot has no guttural Q series either, so all words with G + vowel must be expressed by K + vowel, hence “eko” for “ego” in both Linear B & C. I can hear you who read ancient Greek well or who are ancient Greek linguistics loudly protest that there were no personal pronouns in either Linear B or Linear C. And you are right. However, I had to take liberties with the Aeolic Greek, because it does use personal pronouns, and frequently. As for the likelihood that Mycenaean Greek would have used the Q series of syllabograms to express words with guttural G + vowel, I would readily grant that this may have been true, except for one critical consideration. Mycenaean & Arcado-Cypriot were the closest ancient Greek dialects by far, being kissing cousins. So if Arcado-Cypriot expresses G + vowel with the guttural K series of syllabograms, it stands to reason that it is more likely than not that Mycenaean Greek must have done the same thing. But there is no guarantee of this. Still, the Q series of syllabograms would have fit the bill just as well. And there you have it. Richard
20 Greek Words in the Arcadian Dialect Translated into Tentative & Actual Linear B
20 Greek Words in the Arcadian Dialect Translated into Tentative & Actual Linear B: (Click to ENLARGE): As I just did in our previous post with a much larger vocabulary of the Cypriot dialect, from which I extracted as many putative or hypothetical Linear B concrete and semi-abstract words as I could, leaving purely abstract words aside (as they almost never appear in in Linear B in Mycenaean Greek), I am providing 20 hypothetical Linear B equivalents to everyone on our blog or on the Internet fascinated by the near intimate relationship between the Mycenaean and Arcado-Cypriot dialects, written in Linear B and C respectively, with a vocabulary in the Arcadian dialect, somewhat briefer than that I posted for the Cypriot. By way of introduction, I should like to draw your attention to some highly pertinent facts. In his ground-breaking exhaustive survey of all of the ancient Greek dialects, C. D. Buck, in The Greek Dialects (a), has this to say about the relationship of the Arcadian and Cypriot dialects, which are fact but minor variants on the same dialect (all italics mine): “No two dialects, not even Attic and Ionic, belong together more obviously than do those of Arcadia and the distant Cyprus. They share in a number of notable peculiarities which are unknown elsewhere. See 189 and Chart I. This is to be accounted for by the fact that Cyprus was colonized, not necessarily or probably from Arcadia itself, as tradition states, but from the Peloponnesian coast, at a time when its speech was like that which in Arcadia survived the Doric migration. This group represents, beyond question, the pre-Doric speech of most of the Peloponnesus whatever we choose to call it... passim... ... There are in fact notable points of agreement between Arcado-Cypriot and Aeolic (see 190.3-6 and Chart I,) which cannot be accidental... passim... and there are certain points of agreement with Attic-Ionic...” C.D. Buck’s comments pretty much speak for themselves. But it is extremely important to stress the very intimate relationship between Arcado-Cypriot Greek (being the natural conflagration of the Arcadian and Cypriot dialects into one almost seamless continuum) on the one hand to Aeolic and Attic-Ionic on the other, all of these dialects inclusive falling squarely within the orbit of East Greek, as we move chronologically forward in time. On the other hand, along the same timeline, only in reverse chronological order, we can confirm that (proto-)Arcadian and Mycenaean Greek also unquestionably belong to the same class of ancient Greek dialects, namely, the East Greek. This is precisely why I choose to term both Mycenaean and (proto-)Arcadian as proto-Ionic, since that is in fact what these dialects were. In this perspective, we need to add one more critical comment, again quoting directly from C.D. Buck (although he and I would certainly mirror one another, if we either of us were to say this, even without knowing the other one had. He did say this, and I do.) So allow me to steal the words right out of his mouth, in the sure realization that this is precisely what I, and for that matter, all linguists worldwide would say about the relationship between the ancient Greek dialects would assert... save for a few lone renegades, whom I won’t even bother with, as it is a waste of my breath and our time. C.D. Buck has this to say: “The most fundamental division of the Greek dialects is that into the West Greek and the East Greek dialects, the terms referring to their location prior to the great migrations. The East Greek are the “the old Hellenic” dialects, that is, those employed by the peoples who held the stage almost exclusively in the period represented by the Homeric poems, when the West Greek peoples remained in obscurity in the northwest. To the East Greek belong the Attic and Aeolic groups... passim... And to the East Greek (dialects) also belong the Arcado-Cyprian.” And, of course, just to be certain we have the whole picture clearly in focus, we must also include Mycenaean Greek and early Arcadian as proto-Ionic, both of which dialects held sway “prior to the great migrations.” Here C.D. Buck is referring specifically to the great Doric invasion of the Greek peninsula ca. 1200-1100 BCE or thereabouts. The following summary can be drawn with relative ease from C.D. Buck’s linguistic analysis: 1. The division between the East Greek dialects, among which we count the Arcado-Cypriot (subsumed by its slightly different Arcadian and Cypriot variants) plus the Aeolic, Ionic and Attic dialects, as representative, there being others as well... and the West Greek dialects, under the generic, Doric, is clear and distinct. Never the twain shall meet. 2. Since Mycenaean, proto-Arcado-Cypriot and its later metamorphoses, Arcadian and Cypriot, are all in the same dialectical class, i.e. East Greek, any consideration of the function(s), historical rôle and influences of any and all of these dialects in particular play, must be decisively distinguished from the rôle the Doric dialects played, since the former were all firmly in place and fully operative all over the Greek peninsula well before the Doric invasions ca. 1200-1100 BCE. In fact, in the case of Mycenaean Greek, that dialect held sway for at least 300 years prior to the Doric invasions, so that any putative influence or impact of the latter on the former is de facto impossible. 3. The proto-Arcado-Cypriot dialect is clearly the younger cousin of Mycenaean Greek, as is its later evolution into literary Arcado-Cypriot (Arcadian/Cypriot) as found on the Idalion tablet (fifth century BCE). This fact alone serves to reinforce beyond a shadow of a doubt that Doric Greek could have had no influence on Mycenaean Greek any more than it did on Arcado-Cypriot, as both of the latter were, as C.D. Buck underlines, the “the old Hellenic” dialects. Thus, the intimate relationship between Mycenaean and Arcado-Cypriot doubly reinforces the total exclusion of Doric influences, however meagre. 4. It naturally follows from 3., as day follows night, that documents composed in Mycenaean Linear B and in Arcado-Cypriot Linear C are soundly ensconced in the framework of the very same class of ancient Greek dialects, the East Greek. Henceforth, in this blog, any discussion of the intimate relationship between the Mycenaean and Arcado-Cypriot dialects and of the application of their respective scripts, Linear B and Linear C is firmly set in the framework of this hypothesis, which bears extensive historical linguistic evidence mitigating strongly in its favour. A few final comments are in order with respect to the actual Linear B correlatives of Arcadian words in the vocabulary above. These observations revolve around the methodological process of cross-correlation between Arcadian documents, in this case in alphabetical Greek, with those in Linear B. What we have already discovered, to our great astonishment and delight, even without taking the requisite step of a thorough methodology of cross-correlation, as discussed at length in our previous post on the relationship between Cypriot and Mycenaean Greek, is that at least one of the words in Linear B extracted from this vocabulary of Arcadian, and very probably two, are clearly and indisputably real attested (A) Linear B words. They are, of course, the Linear B for “and” (QE) and for “girl” (KOWA). By extension, we may as well add a third, “boy” KOWO, since it is simply the masculine of the former. KOWA appears both in Linear B and in Linear C, and is therefore, by default, attested (A) in both. This is a rare jewel of a find, and to my mind, it is the very first instance of actual confirmation of any word in the vocabulary of Linear B & C common to Mycenaean and Arcado-Cypriot. This in effect constitutes our very first, albeit baby, step in the cross-correlation of Mycenaean and Arcado-Cypriot vocabulary by means of a tried-and-tested linguistic methodology. How many Mycenaean and Arcado-Cypriot will eventually (nearly) match up, whether scores, some or just a few, I cannot possibly predict right now. But it is certain that we shall eventually be able to compile at least a small vocabulary of equivalent Mycenaean & Arcado-Cypriot words, and as soon as we can (b), I shall be sure to let you know. Such a vocabulary will prove of inestimable value in going a long way to confirming attested Linear C = derivative Linear B words (ALC+DLB), as explained in the previous post. NOTES: (a) Buck, C.D. The Greek Dialects. London: Bristol Classical Press, © 1955, 1998. ISBN 1-85399-566-8. xvi, 373 pp. (b) sometime in 2015 or at the latest, early 2016. (c) All italics mine.
Which Greek Dialects are the Descendents of Mycenaean Greek?
Which Greek Dialects are the Descendents of Mycenaean Greek? (Click to ENLARGE): Allow me to cite at some length four authoritative sources for the close-knit relationship between Mycenaean Greek (ca. 1500-1200 BCE) and the East Greek dialects which sprang up later, spreading out, first to Arcadia itself, as the Arcado-Cypriot dialect, which then in turn spread westward to Cyprus in the period of the great Greek migrations through colonization (ca. 750-550 BCE), also northwards towards Ionia and Attica, and eastwards to the island of Lesbos and its environs (Aeolic). Arcado-Cypriot, as C.D. Buck states in his ground-breaking study, The Greek Dialects (University of Chicago Press, 1955; republished in 1998 by Bristol Classical Press, © 1998 – ISBN 1-85399-556-8. xvi, 373 pp.), belongs to “The East Greek... Old Hellenic dialects, that is, those employed by the peoples who held the stage almost exclusively in the period represented by the Homeric poems, when the West Greek peoples remained in obscurity in in the northwest. To the East Greek division belong the Ionic and Aeolic groups.. [and].. also the Arcado-Cyprian.” Then he makes a point of stressing that “no two dialects, not even Attic and Ionic, belong together more obviously than do those of Arcadia and the distant Cyprus.” (pg. 7), and goes on to say, “There are, in fact, notable points of agreement between Arcado-Cypriot and Aeolic... which cannot be accidental.” (pg. 8, all italics mine). I have taken pains to quote all of these observations to make it abundantly clear that following dialects, Mycenaean, Arcado-Cypriot, Attic-Ionic, Aeolic and Lesbian, are all East Greek dialects, as illustrated by his table on page 9, as opposed to the West & North-West Greek dialects, which include all of the Doric dialects, such as Argolic, Megarian, Cretan etc. while Egbert J. Bakker. in his A Companion to the Ancient Greek (Wiley-Blackwell, © 2010. 704 pp. ISBN 978-1-4051-5326-3), asserts that “Mycenaean is clearly, therefore, an East Greek dialect, along with Attic-Ionic and Arcado-Cypriot... passim ... Some features align Mycenaean more closely with Arcado-Cypriot... passim... Mycenaean is therefore a dialect directly related to Arcado-Cypriot – not unexpected, given the geography...” (pp. 198-199), and again, Roger D. Woodward, in The Ancient Languages of Europe (Cambridge University Press, © 2008 ISBN 9780521684958), states that “Of the first-millennium dialects, it is Arcado-Cypriot to which Mycenaean Greek is most closely related.” (pg. 52) I wish to stress emphatically that there is no direct relationship between the East Greek dialects (Mycenaean, Arcado-Cypriot, Attic-Ionic or Aeolic) and the West Greek dialects, most notably, the Doric dialect, since the earliest of the East-Greek dialects, Mycenaean Greek, was widely spoken in the Peloponnese and around the Saronic Gulf well before the Doric invasion, and that consequently since all of the other East Greek dialects, Arcado-Cypriot, Attic-Ionic & Aeolic, spread out from the Mycenaean epicentre, they too are not and cannot be directly related to the West Greek dialects. To add further fuel to the fire, allow me to conclude with these highly pertinent observations Denys Page makes in, History and the Homeric Iliad (University of California Press, © 1966. 350 pp.) He says: The new theory maintains, in briefest summary, the following position. “The dialect which we call Ionic is fundamentally akin to Arcadian; the peculiar features which differentiate it from other dialects as Ionic are all (or most) of relatively late development. In the Mycenaean period one dialect was predominant in southern Greece: when the Dorians occupied the Peloponnese, part of the Mycenaean population stayed at home, part emigrated; the stay-at-homes, to be called “Arcadians”, retained their dialect with comparatively little change through the Dark Ages, ...” Now, from all we have just seen here, I feel I can safely draw the following conclusions: 1 there is no direct relationship between the East Greek dialects (Mycenaean, Arcado-Cypriot, Attic-Ionic or Aeolic) and the West Greek dialects, most notably, the Doric dialect; 2 All of the East Greek dialects migrated from their original home base during the great age of Greek colonization (ca. 750-550 BCE), as witnessed by the spread of the Arcadian dialect to Cyprus in the historical period, and of Attic-Ionic eastwards as Aeolic towards Lesbos and its environs. 3 these patterns of migration of the East Greek dialects were paralleled by the migration of the West Greek dialects to colonies as prosperous and large as the great city of Syracuse (Doric) and other Greek cities along the west coast of Italy. 4 Confirmation of Denys Page’s “new theory” (1966) has been re-affirmed and validated over and over again all the way through to the present day (Cf. Woodward, 2008 & Bakker, 2010), so that there remains little doubt, if any, that his “new theory”, which is no longer new at all, having persisted a half century, is here to stay. Richard
Tabular Comparison of the Mycenaean Linear B & Arcado-Cypriot Linear C Syllabaries
Tabular Comparison of the Mycenaean Linear B & Arcado-Cypriot Linear C Syllabaries (Click to ENLARGE):
Mycenaean Greek, which was written in the Linear B syllabary, and Arcado-Cypriot, which used the Linear C syllabary, both belong to the family of East Greek dialects, which were to spread from these two into Ionic-Attic and Aeolic during the period of Greek colonization (ca. 750-550 BCE). For more on this, see the next post, “Which Greek dialects of Mycenaean Greek”?
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